Preface
|
Series Foreword
|
Acknowledgements
|
1 Introduction
|
| 1.1 |
Why User Interfaces Matter |
1 |
| 1.2 |
Interdisciplinary Design and Its Problems |
3 |
| 1.3 |
Capturing Experience |
5 |
| 1.4 |
A Pattern Framework |
6 |
| 1.5 |
How This Book Is Organized |
7 |
2 Design Pattern Languages
|
| 2.1 |
Pattern Languages in Architecture |
9 |
| 2.2 |
Pattern Languages in Software Engineering |
22 |
| 2.3 |
Pattern Languages in HCI |
26 |
| 2.4 |
Pattern Languages in Other Disciplines |
43 |
| 2.5 |
A Comparison of Central Pattern Collections |
46 |
| 2.6 |
Pattern Language Framework Requirements |
47 |
3 An Interdisciplinary Pattern Framework
|
| 3.1 |
A Formal Model of Pattern Languages |
52 |
| 3.2 |
Pattern Languages in the Software Lifecycle |
54 |
| 3.2.1 |
The Usability Engineering Lifecycle |
57 |
| 3.2.2 |
The Pattern Framework in the Lifecyle |
58 |
| 3.3 |
Time in Patterns |
63 |
| 3.4 |
Patterns and Their Components in Detail |
64 |
| 3.4.1 |
Name |
65 |
| 3.4.2 |
Ranking |
66 |
| 3.4.3 |
Illustration |
66 |
| 3.4.4 |
Problem and Forces |
68 |
| 3.4.5 |
Examples |
69 |
| 3.4.6 |
Solution |
70 |
| 3.4.7 |
Diagram |
71 |
| 3.4.8 |
Context and References |
71 |
4 A Pattern Language for Interactive Music Exhibits
|
| 4.1 |
Musical Pattern Language |
78 |
| M1 |
BLUES STYLE |
81 |
| M2 |
COMBO INSTRUMENTATION |
83 |
| M3 |
SOLO & COMPING * |
85 |
| M4 |
TWELVE-BAR PROGRESSION * |
87 |
| M5 |
SIXTH AND SEVENTH CHORDS |
89 |
| M6 |
CHORD TRANSITIONS |
91 |
| M7 |
PENTATONIC SCALE ** |
93 |
| M8 |
BLUE NOTES ** |
95 |
| M9 |
TRIPLET GROOVE ** |
97 |
| M10 |
WALKING BASS * |
99 |
| M11 |
BLUES TEMPO |
101 |
| 4.2 |
HCI Pattern Language |
102 |
| H1 |
ATTRACT-ENGAGE-DELIVER * |
105 |
| H2 |
ATTRACTION SPACE * |
109 |
| H3 |
COOPERATIVE EXPERIENCE ** |
113 |
| H4 |
EASY HANDOVER * |
117 |
| H5 |
SIMPLE IMPRESSION * |
120 |
| H6 |
INCREMENTAL REVEALING ** |
122 |
| H7 |
FLAT AND NARROW TREE * |
124 |
| H8 |
AUGMENTED REALITY * |
126 |
| H9 |
CLOSED LOOP * |
129 |
| H10 |
LANGUAGE INDEPENDENCE |
131 |
| H11 |
DOMAIN-APPROPRIATE DEVICES * . |
133 |
| H12 |
INNOVATIVE APPEARANCE * |
137 |
| H13 |
IMMERSIVE DISPLAY * |
139 |
| H14 |
INVISIBLE HARDWARE * |
141 |
| H15 |
DYNAMIC DESCRIPTOR ** |
144 |
| H16 |
INFORMATION JUST IN TIME ** |
147 |
| H17 |
ONE INPUT DEVICE * |
149 |
| 4.3 |
Software Pattern Language |
152 |
| S1 |
BRANCHING TRANSFORMER CHAIN |
153 |
| S2 |
METRIC TRANSFORMER * |
156 |
| S3 |
IMPROVISATION HELPER ** |
161 |
| S4 |
MUSICAL EVENTS * |
166 |
5 Evaluation and Tool Support
|
| 5.1 |
Comparison With Framework Requirements |
170 |
| 5.2 |
Pattern Peer Review |
171 |
| 5.2.1 |
Summary |
176 |
| 5.2.2 |
Positive Formal Aspects |
176 |
| 5.2.3 |
Positive Contents Aspects |
177 |
| 5.2.4 |
Format Improvement Suggestions |
177 |
| 5.2.5 |
Contents Improvement Suggestions |
178 |
| 5.2.6 |
Conclusion: Main Advantages |
179 |
| 5.3 |
Comparison With CHI 2000 Workshop Results |
179 |
| 5.4 |
Evaluation of a Resulting System: WorldBeat |
180 |
| 5.4.1 |
Project Background |
181 |
| 5.4.2 |
System Features |
182 |
| 5.4.3 |
Implementation |
183 |
| 5.4.4 |
Usage Scenario |
185 |
| 5.4.5 |
Evaluation |
187 |
| 5.5 |
Reusing Patterns |
189 |
| 5.5.1 |
The Interactive Fugue |
189 |
| 5.5.2 |
Personal Orchestra and Virtual Vienna |
191 |
| 5.6 |
Study of Didactic Usefulness |
193 |
| 5.7 |
Publishing Peer Review |
195 |
| 5.8 |
PET: A Pattern Editing Tool |
195 |
6 Summary and Further Research
|
| 6.1 |
Motivation |
203 |
| 6.2 |
Main Contributions |
204 |
| 6.3 |
Further Research |
206 |
Bibliography
|
A Online Resources
|
B WorldBeat Sample Run
|
| B.1 |
WorldBeat: Interacting With Music |
221 |
| B.2 |
Scenario: A Screen, And Two Batons |
221 |
| B.3 |
Start Page: Entering the Exhibit |
222 |
| B.4 |
Choosing From Six Components |
222 |
| B.5 |
Virtual Baton |
223 |
| B.6 |
Joy-Sticks |
223 |
| B.7 |
Musical Memory |
224 |
| B.8 |
Query By Humming |
224 |
| B.9 |
Musical Design Patterns |
225 |
| B.10 |
NetMusic |
226 |
| B.11 |
Leaving the Exhibit |
226 |
List of Figures and Credits
|
Index
|
